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拍品專文
The Warren Hill, Newmarket was one of Wootton's most popular set-pieces. The exceptional composition, with the exciting yet orderly action on the hill, the glimpse of the side of the town, and the distant panoramic view, makes for a seminal image of early 18th Century racing. While the original is probably the slightly larger picture of circa 1715, exhibited at Kenwood in 1984. (John Wootton, no.3 [Private Collection, Scotland]), Wootton catered to the demand for this new type of picture by painting several versions, of which the present picture is a fine example.
By the late 17th Century, Newmarket had established itself as the racing capital of England. Warren Hill lies to the east of the town and Wootton's view looking north takes in the side of Newmarket with St. Mary's Church. Ely Cathedral can be seen in the far distant on the right. The artist sketching in the foreground is clearly Wootton himself and may be compared with his self-portrayal, again sketching although this time seated, in King George I at Newmarket (Paul Mellon Collection). Tregonwell Frampton, keeper of the royal Running horses under King William III, Queen Anne and King George I, has been variously identified with several of the figures in the foreground. Arlene Meyer (in the 1984 Kenwood catalogue) has suggested that the large sedan-chair at the top of the hill approaches the description of King Charles II's earlier King's Chair which would have afforded the best view of the horses at exercise. Royal patronage was indeed an important factor in the growing populartiy of racing and it is interesting to note the two grooms dressed in royal scarlet leading the string of horses in the foreground. Of the other liveries, only the yellow of the Duke of Devonshire is readily identifiable.
By the late 17th Century, Newmarket had established itself as the racing capital of England. Warren Hill lies to the east of the town and Wootton's view looking north takes in the side of Newmarket with St. Mary's Church. Ely Cathedral can be seen in the far distant on the right. The artist sketching in the foreground is clearly Wootton himself and may be compared with his self-portrayal, again sketching although this time seated, in King George I at Newmarket (Paul Mellon Collection). Tregonwell Frampton, keeper of the royal Running horses under King William III, Queen Anne and King George I, has been variously identified with several of the figures in the foreground. Arlene Meyer (in the 1984 Kenwood catalogue) has suggested that the large sedan-chair at the top of the hill approaches the description of King Charles II's earlier King's Chair which would have afforded the best view of the horses at exercise. Royal patronage was indeed an important factor in the growing populartiy of racing and it is interesting to note the two grooms dressed in royal scarlet leading the string of horses in the foreground. Of the other liveries, only the yellow of the Duke of Devonshire is readily identifiable.